Friday

The interactive murder mystery is being staged as part of Ridge Writers’ Weird Weekend 2018 and it takes ‘weird’ one better — all the way into wickedly enjoyable. This play manages to give a nod to classic Hollywood, 1960s anthology TV shows, and films shot in the desert all at once — no mean feat.

The premise of the play is that a television crew has traveled to the Mojave Desert to film a show called “Sundown,” a Twilight Zone/Night Gallery-esque anthology in the fall of 1963. Sundown is hosted by Madam (Cat Kreidt), a sort of female Rod Serling complete with cigarette and snark.

Like many anthology shows, Sundown provides a last-chance performing ground for has-been actors. In this case, that would be Helena Rothschild (Monica Lorenz) and Kim Hyatt (Leslie Blake). The two are reuniting for an episode that looks an awful lot like “Whatever Happened to Baby Jane,” including a wheelchair. Rounding out the principle cast are Stallings as Elijah Samson, another actor; Rebecca Witherell as Victoria Camden, a young actress with a mysterious past; Matthew Bradford as Bob the Cameraman who sees a little more than he should; and Amber Stull as Miss Lockwood, Madam’s long-suffering assistant.

It wouldn’t be a Master Mystery Production without at least one murder, a couple of jaw-dropping plot twists and a whole lot of hilarious, catty repartee. The first act sets up the mystery and the second act provides a completely satisfying conclusion. One plot twist was so shocking, yet so perfect that this Daily Independent correspondent actually gasped out loud when it was revealed.

This is Stallings’ most consistently entertaining work to date. The clever premise allows for all sorts of in-jokes referencing future filming in the area and Easter egg moments alluding back to Stallings’ “Goodbye Hollywood” productions. Rothschild was a rival of the late, great Lila Schroeder of Hollywood’s Golden Era and Lorenz gives a heart-wrenching monologue looking back on the good old, bad old days.

The cast as a whole does a marvelous job of delineating their characters. Lorenz is eminently sympathetic as the fading star Rothschild, bringing both glamour and maturity to the character. Blake does an excellent job in the complex role of Hyatt, who is an extreme victim of circumstance — or is she? Stallings is perfect as the semi-dastardly Elijah Sampson. Newcomer Witherell shows real acting talent and brings a touching poignance to the role of Victoria Camden. Kreidt is downright hilarious in the key role as Madam. Her performance is flawless. Bradford is suitably creepy as Bob the Cameraman, and Stull does a sympathetic job of portraying the hard-working Miss Lockwood.

One of the truly fabulous things about this play was the inclusion of an ensemble of background characters in period-perfect costumes and makeup. They included Olivia Holm, Beth Sparks-Jacques, Devanne Fredette, Brianne Hardwick, and Tiffany Cheney.

As befitting a play about Hollywood, the program lists six separate categories for hair, makeup and costuming. All did a truly spectacular job, with many doing double-duty as both performers and behind the scenes glamour makers. Sparks-Jacques and Margit Stallings are to be commended on the 1960s costumes. Blake was head of glamour makeup, an important contribution to this production. Stephanie Bradley did Blake’s hair. Holm was head of SFX makeup and (not to given anything away) did a horror-movie worthy job with the help of SFX makeup crew Blake and Witherell. Stallings did the perfect set and Michelle Stallings did the flawlessly spooky pre-show photography.

Also befitting a play about Hollywood, this one features a completely gratuitous costume change and red-carpet curtain call which was fun to watch.

As is traditional with Master Mystery Productions, the audience will submit their guesses as to whodunnit and a final scene will answer the question.

In all, this production is recommended to kick off the fall season. It is a bit darker than some of Stallings’ previous works, but it also manages to provide a sincere tribute to both classic Hollywood and all the film work done in this area — a neat trick.

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